How to Play and Master Harp/Chime Harmonics
by Greg Danielak
The first time I heard of harp harmonics was when I was 15, checking out the Eric Johnson "Total Guitar" Video. Sure, I thought it was an interesting way to make a chord more interesting, but I didn't care much for them then. I had a secret obsession to be the fastest thing on six-strings. I fiddled away with harp harmonics, until I quickly became frustrated and quit because I couldn't do it right. I asked myself, "Why do I need these stupid things if there are already lots of harmonics at the 12th, 7th, 9th, and 5th frets?" So I shoved harp harmonics into my backlog and totally forgot about them.
Man, was I wrong.
Two years later, and more mature, I started listening to the Police again after many many years. On that day, I had been listening to "Outlandos D'Amour" which a friend let me borrow. I was on "Can't Stand Losing You" and then all of a sudden, the sky opened up during the bridge section. Andy was playing something- something like I've never heard. It sounded like an effects box, but wasn't! It was just a chord, floating in the air . . . but I didn't know what it was! I was in shock. (Then, Sting went "Owwwp" and I started to laugh my butt off, but that's a different story.)
I dived into my books and magazines, and turned up with this Andy Summers interview in Guitar World from December 1997, where he explained it-
"That's not an effect- those are "chime harmonics." It's a technique I learned from [late American jazz guitarist] Lenny Breau that involves holding down a chord grip and alternately fingerpicking regular notes and sounding artificial harmonics by lightly touching the string 12 frets above the fretted note with your right index finger as you pluck the string with your thumb. If you play certain chords like that in sequence it sounds like church bells. It creates a highlight right at the top of the chord, and creates an aura, or a kind of halo around it."
Now, after many months practicing this wonderful effect, I can teach you how to correctly do this wonderful technique, which can open up the whole guitar for you.
Harp Harmonics are very similar to regular harmonics, except that you can control where the harmonic takes place.
Basically, there are two ways you can do these special types of harmonics- with the fingers or with the pick. Choose one you are most comfortable with by looking at these diagrams.
If you are used to playing with your fingers, use this way.
If you are used to playing with a pick, use this way.
Notice that in the pictures, the hand was not pressing DOWN on the string, but floating over the harmonic point. This is the same way you would do a regular harmonic.
Now that you've chosen a method, remember that your left hand can fret any notes you want, while your right will play the harmonics.
Remember that the notes your right hand plays must be EXACTLY 12 frets higher than the note your left hand plays. These harmonics will occur because the point of harmonic contact is exactly half the way between the fret and the bridge, so the vibration is "shortened", resulting in a note an octave higher.
Lets begin with a simple G major open chord.
If you are using the finger method:
With your left hand, fret the G chord.
Now put your right hand's index finger just touching lightly, but not pressing down, over the 15th fret of the low E string (the same way you would do a regular harmonic.). This is 12 frets higher than the 3rd fret of the low E string. Look at the picture if you need help.
With both hands in position, pluck the low E string with your thumb. If you did it right, your right hand's index finger would have shortened out the vibration, and you should have heard a "G" note an octave higher than the note your left hand was fretting.
Note: You don't only have to use your thumb to play the harmoniced note. You can use your middle, ring and pinky as well. This is how Andy does those incredible sounds on "Regatta De Blanc."
If you are using the pick method:
With your left hand, fret the G chord.
Now put your right hand's index finger just touching lightly, but not pressing down, over the 15th fret of the low E string (the same way you would do a regular harmonic.). This is 12 frets higher than the 3rd fret of the low E string. Look at the fretboard picture if you need help.
Now, make sure that your pick is being held by your thumb and middle finger together (if you need help, look at the picture in the beginning of this lesson.) The last thing you want is for your pick to fall out of your hand, so make sure you have contact.
With both hands in position, pick the low E string. If you did it right, your right index finger would have shortened out the string vibration, and you should have heard a "G" note an octave higher than the note your left hand was fretting.
Now, try the same methods on the other notes of the G chord. Remember that the D, G, and B strings are all unfretted so just hitting them at the 12th fret will make the harmonic.
Now for some examples from Police songs:
Can't Stand Losing You (Interlude)
This is the middle section from "Can't Stand Losing You". Notice that even though you fret the notes with you left hand, the real notes you sound out while playing this are in parenthesis- like 1(13) or 3(15).This is because your right hand plays all the notes an octave up . . . remember?
Here is a more complicated version of the previous interlude. This one involves the fingerstyle technique, but it can also be worked out for pick-style harp harmonics. If you are using a pick, I recommend throwing in your ring and pinky fingers to help strike the upcoming notes across the strings, instead of wasting energy by picking everything. If you are used to playing with your fingers, then you will have an easier time mastering this technique, if you ask me.
This is what Andy plays at the exact moment the bass comes in on "Regatta De Blanc" . . .
Here Andy uses a combination of picked harp harmonic notes with fingers. It's a great sound, and a great technique that I hope this lesson helped you understand.
"Cant Stand Losing You" Copyright 1978 Gordon M. Sumner Published by Magnetic Publishing Ltd. (PRS) Represented by Blue Turtle Music, Administered by Almo Music Corp. (ASCAP) in the U.S. and Canada International Copyright Secured All Rights Reserved
"Reggatta De Blanc" Copyright 1979 Gordon M. Sumner, Andy Summers & Stewart Copeland Published by Magnetic Publishing Ltd. (PRS) Represented by Blue Turtle Music, Administered by Almo Music Corp. (ASCAP) in the U.S. and Canada and Reggatta Music Ltd., Administered by Irving Music Inc. (BMI) in the U.S. and Canada International Copyright Secured All Rights Reserved
Lesson By Greg Danielak - 2000
